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Post-Augustan Poetry 1 The Project Gutenberg EBook of Post−Augustan Poetry, by H.E. Butler Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Post−Augustan Poetry From Seneca to Juvenal Author: H.E. Butler Release Date: November, 2005 [EBook #9303] [Yes, we are more than one year ahead of schedule] [This file was first posted on September 19, 2003] Edition: 10 Language: English Character set encoding: ISO−8859−1 • START OF THE PROJECT GUTENBERG EBOOK POST−AUGUSTAN POETRY *** Produced by Keren Vergon, Tapio Riikonen, and PG Distributed Proofreaders. POST−AUGUSTAN POETRY From Seneca to Juvenal By H.E. BUTLER, Fellow of New College PREFACE I have attempted in this book to provide something of an introduction to the poetical literature of the post−Augustan age. Although few of the writers dealt with have any claim to be called poets of the first order, and some stand very low in the scale of poetry, as a whole the poets of this period have suffered greater 2 neglect than they deserve. Their undeniable weaknesses tend in many cases to obscure their real merits, with the result that they are at times either ignored or subjected to unduly sweeping condemnation. I have attempted in these pages to detach and illustrate their excellences without in any way passing over their defects. Manilius and Phaedrus have been omitted on the ground that as regards the general character of their writings they belong rather to the Augustan period than to the subsequent age of decadence. Manilius indeed composed a considerable portion of his work during the lifetime of Augustus, while Phaedrus, though somewhat later in date, showed a sobriety of thought and an antique simplicity of style that place him at least a generation away from his contemporaries. The authorities to whose works I am indebted are duly acknowledged in the course of the work. I owe a special debt, however, to those great works of reference, the Histories of Roman Literature by Schanz and Teuffel, to Friedländer's Sittengeschichte, and, for the chapters on Lucan and Statius, to Heitland's Introduction to Haskin's edition of Lucan and Legras' _Thébaïde de Stace_. I wish particularly to express my indebtedness to Professor Gilbert Murray and Mr. Nowell Smith, who read the book in manuscript and made many valuable suggestions and corrections. I also have to thank Mr. A.S. Owen for much assistance in the corrections of the proofs. My thanks are owing to Professor Goldwin Smith for permission to print translations from 'Bay Leaves', and to Mr. A.E. Street and Mr. F.J. Miller and their publishers, for permission to quote from their translations of Martial (Messrs. Spottiswoode) and Seneca (Chicago University Press) respectively. H.E. BUTLER. November, 1908. CONTENTS CHAPTER I THE DECLINE OF POST−AUGUSTAN POETRY Main characteristics, p. 1. The influence of the principate, p. 1. Tiberius, p. 2. Caligula, p. 4. Claudius, p. 5. Nero, p. 6. Decay of Roman character, p. 9. Peculiar nature of Roman literature, p. 10. Greatness of Augustan poets a bar to farther advance, p. 11. Roman education: literary, p. 12; rhetorical, p. 14. Absence of true educational spirit, p. 16. Recitations, p. 18. Results of these influences, p. 19. CHAPTER II DRAMA i. THE STAGE. Drama never really flourishing at Rome, p. 23. Comedy, represented by Mime and Atellan farce, p. 24. 3 Legitimate comedy nearly extinct, p. 25. Tragedy replaced by salticae fabulae, p. 26; or musical recitations, p. 28. Pomponius Secundus, p. 29. Curiatius Maternus, p. 30. ii. SENECA: his life and character, p. 31. His position in literature, p. 35. His epigrams, p. 36. His plays, p. 39. Their genuineness, p. 40. The Octavia, Oedipus, Agamemnon,_ and _Hercules Oetaeus, p. 41. Date of the plays, p. 43. Their dramatic value, p. 44. Plot, p. 45. Descriptions, p. 48. Declamation, p. 49; at its best in Troades_ and _Phaedra, p. 51. Dialogue, p. 55. Stoicism, p. 58. Poetry (confined mainly to lyrics), p. 63. Cleverness of the rhetoric, p. 65. Sententiae, p. 68. Hyperbole, p. 69. Diction and metre; iambics, p. 70; lyrics, p. 71. Plays not written for the stage, p. 72. Influence on later drama, p. 74. iii. THE OCTAVIA. Sole example of fabula praetexta, p. 74. Plot, p. 75. Characteristics, p. 76. Date and authorship, p. 77. CHAPTER III PERSIUS Life, p. 79. Works, p. 81. Influence of Lucilius, p. 83; of Horace, p. 84. Obscurity, p. 85. Qualifications necessary for a satirist; Persius' weakness through lack of them, p. 87. Success in purely literary satire, p. 88. Lack of close observation of life, p. 90. Persius' nobility of character, p. 91. His Stoicism, p. 93. His capacity for friendship, p. 95. CHAPTER IV 4 LUCAN Life, p. 97. Minor works, p. 99. His choice of a subject, p. 101, Choice of epic methods, p. 102. Petronius' criticism of historical epic, p. 103. Difficulties of the subject, p. 104. Design of the poem, p. 106. Characters: Pompey, p. 106. Caesar, p. 108. Cato, p. 109. Descriptive passages, p. 112. Hyperbole, p. 115. Irrelevance, p. 116. Lack of poetic vocabulary, p. 116. Tendency to political satire, p. 117. Speeches, p. 120. Sententiae, p. 122. Metre, p. 123. Summary, p. 123. CHAPTER V PETRONIUS Authorship of Satyricon: character of Titus Petronius, p. 125. Literary criticism, p. 127. Attack on contemporary rhetoric, p. 128. Eumolpus the poet, p. 129; laments the decay of art, p. 130. Poem on the Sack of Troy, p. 130. Criticism of historical epic, p. 131. The poetic fragments, p. 133. Epigrams, p. 134. Question of genuineness, p. 135. Their high poetic level, p. 136. CHAPTER VI MINOR POETRY, 14−69 A.D. I. DIDACTIC POETRY i. THE AETNA. Its design, p. 140. Characteristics of the poem, p. 141. Authorship, p. 143. Date, p. 145. ii. COLUMELLA. Life and works, p. 146. His tenth book, a fifth Georgic on gardening, p. 147. His enthusiasm and descriptive power, p. 148. 5 II. CALPURNIUS SICULUS, THE EINSIEDELN FRAGMENTS, AND THE PANEGYRICUS IN PISONEM Pastoral poetry, p. 150. Calpurnius Siculus; date, p. 151. Who was he? p. 152. Debt to Vergil, p. 152. Elaboration of style, p. 153. Obscurity, affectation and insignificance, p. 154. Einsiedeln fragments; was the author Calpurnius Piso? p. 156. Panegyricus in Pisonem, p. 157. Graceful elaboration, p. 158. Was the author Calpurnius Siculus? p. 159. III. ILIAS LATINA Early translations of Iliad, p. 160. Attius Labeo, p. 160. Polybius p. 161. Ilias Latina, a summary in verse, p. 161. Date, p. 162. Authorship: the question of the acrostic, p. 162. Wrongly attributed to Silius Italicus. p. 163. IV. MINOR POETS Gaetulicus, p. 163. Caesius Bassua, p. 164. CHAPTER VII EMPERORS AND MINOR POETS, 70−117 A.D. I. EMPERORS AND POETS WHOSE WORKS ARE LOST Vespasian and Titus, p. 166. Domitian. The Agon Capitolinus and Agon Albanus, p. 167. Literary characteristics of the Flavian age, p. 168. Saleius Bassus, Serranus, and others, p. 169. Nerva, p. 169. Trajan, p. 170. Passennus Paulus, p. 170. Sentius Augurinus, p. 171. Pliny the Younger, p. 172. Almost entire disappearance of poetry after Hadrian. p. 174. II. SULPICIA Sulpicia, a lyric poetess, p. 174. Martial's admiration for her, p. 175. Characteristics of her work, p. 176. Her Satire, p. 176. Is it genuine? p. 177. CHAPTER VIII 6 VALERIUS FLACCUS Epic in the Flavian age, p. 179. Who was Valerius? His date, p. 180. The Argonautica, unfinished, p. 181. Its general design, p. 182. Merits and defects of the Argonaut−saga as a subject for epic, p. 183. Valerius' debt to Apollonius Rhodius, p. 183. Novelties introduced in treatment; Jason, p. 184; Medea, p. 185. Valerius has a better general conception as to how the story should be told, but is far inferior as a poet, p. 186. Obscure learning; lack of humour, p. 187. Involved language, p. 188. Preciosity; compression, p. 189. Real poetic merit: compared with Statius and Lucan, p. 191. Debt to Vergil, p. 191. Metre, p. 192. Brilliant descriptive power, p. 193. Suggestion of mystery, p. 193. Sense of colour, p. 195. Similes, p. 195. Speeches, p. 197. The loves of Jason and Medea, p. 198. General estimate, p. 200. CHAPTER IX STATIUS Life, p. 202. Character, p. 205. The Thebais; its high average level, p. 206. Statius a miniature painter, p, 207. Weakness of the Theban−saga as a subject for epic, p. 208. Consequent lack of proportion and unity in Thebais, p. 210. Vergil too closely imitated, p. 211. Digressions, p. 212. Character−drawing superficial, p. 213. Tydeus, p. 214. Amphiaraus, p. 216. Parthenopaeus and other characters, p. 218. Atmosphere that of literature rather than life, p. 220. Fine descriptive passages, p. 221. Dexterity, often degenerating into preciosity, p. 224. Similes, p. 225. Metre, p. 226. The Achilleis, p.
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